1. Field of Invention
This invention relates to musical instruments. Specifically, it relates to musical instruments designed to facilitate musical training.
2. Description of Related Art
A musical instrument generally comprises a plurality of note playing means. The most common note playing means are keys (such as the keys of a piano) and strings (such as the strings of a guitar). Generally, there is a surface corresponding to the note playing means which can be viewed by the person playing the musical instrument when the note playing means is played. For example, a piano key has a top surface which is pressed in order to play the key. A guitar has a fingerboard surface below the strings.
Keyboard musical instruments come in all shapes and sizes and produce sound in many different ways. Well known keyboard instruments include pianos (electric and non-electric), organs, harpsichords, spinets, clavichords, synthesizers and accordions. Reference is made to FIG. 1, which shows part of a conventional piano keyboard. The keyboard has white keys and black keys. Each key, when pressed, produces a corresponding tone. The white keys correspond to what are commonly known as diatonic tones or notes and the black keys correspond to what are commonly known as chromatic tones or notes.
With respect to FIG. 1, the white keys include a C key 1, a D key 2, an E key 3, an F key 4, a G key 5, an A key 6 and a B key 7. The black keys include a C#/D .music-flat. key 8, a D#/E .music-flat. key 9, an F#/G .music-flat. key 10, a G#/A .music-flat. key 11, and an A#/B .music-flat. key 12. Piano keys numbered on FIG. 1 as 1 through 12 constitute an octave.
Also shown in FIG. 1 is a second and higher octave. This second octave includes a C key 21, a D key 22, an E key 23, an F key 24, a G key 25, an A key 26 and a B key 27. The black keys included in the second octave are a C#/D .music-flat. key 28, a D#/E .music-flat. key 29, an F#/G .music-flat. key 30, a G#/A .music-flat. key 31, and an A#/B .music-flat. 32. C key 1, for example, is one octave lower than C key 21.
It is important to distinguish the meanings of "note" and "pitch." The C key 1 and the C key 21 play the same "note." However, the same two piano keys play tones with different "pitches" because the two keys are an octave apart.
Furthermore, "half-step" means one tone higher or lower. For example, the B key 7 is a half-step lower than the C key 21. The D#/E .music-flat. key is one half-step higher than the D key. A "whole step" constitutes two consecutive half steps. For example, the C key 1 is one whole step lower than the D key 2, because the C#/D .music-flat. key 8 is between said C and D keys.
Another important concept in music is that of the scale. There are many different types of scales, but the most notable are the major, minor and blues scales. The major scale is the most familiar. In playing a major scale, one would play the following notes in the following order:
1. The central note (for the C major scale, for example, the central note is "C");
2. a second note, which is the note one whole step higher than the central note (i.e., "D" for the C major scale);
3. a third note, which is one whole step higher than the second note (i.e., "E" for the C major scale);
4. a fourth note, which is one half step higher than the third note (i.e., "F" for the C major scale);
5. a fifth note, which is one whole step higher than the fourth note (i.e., "G" for the C major scale);
6. a sixth note, which is one whole step higher than the fifth note (i.e.,, "A" for the C major scale);
7. a seventh note, which is one whole step higher than the sixth note (i.e., "B" for the C major scale); and
8. the central note, which is played one half-step higher than the seventh note (i.e., "C" for the C major scale, except one octave higher than the initial C note played). Therefore, to play the C major scale, one could play the following keys from FIG. 1 in the following order: 1; 2; 3; 4; 5; 6; 7; and 21.
Using the same formula for a major scale, to play the G major scale, one would play G, A, B, C, D, E, F#, then G (one octave higher this time) again. These notes follow the same relationship of central note, whole step, whole step, half step, whole step, whole step, whole step, then half step to central note one octave higher than the first. Similarly, to play the F major scale, one would play F, G, A, B .music-flat., C, D, E, F.
The minor scale is also important in music. In playing a minor scale, one would play the following notes in the following order:
1. The central note (for the A minor scale, for example, the central note is "A");
2. a second note, which is the note one whole step higher than the central note (i.e., "B" for the A minor scale);
3. a third note, which is one half step higher than the second note (i.e., "C" for the A minor scale);
4. a fourth note, which is one whole step higher than the third note (i.e., "D" for the A minor scale);
5. a fifth note, which is one whole step higher than the fourth note (i.e., "E" for the A minor scale);
6. a sixth note, which is one half step higher than the fifth note (i.e., "F" for the A minor scale);
7. a seventh note, which is one whole step higher than the sixth note (i.e., "G" for the A minor scale); and
8. the central note, which is played one whole step higher than the seventh note (i.e., "A" for the A minor scale, except one octave higher than the initial A note played). Therefore, to play the A minor scale, one could play the following keys from FIG. 1 in the following order: 6; 7; 21; 22; 23; 24; 25; and 26.
Using the same formula for a minor scale, to play the E minor scale, one would play E, F#, G, A, B, C, D, and E (one octave higher than the first E). These notes have the same relationship of central note, whole step, half step, whole step, whole step, half step, whole step, whole step to central note one octave higher than the first. Similarly, to play the D minor scale, one would play D, E, F, G, A, B.music-flat., C, D.
In playing the blues scale, six notes are played, rather than eight. The pattern for the blues scale is (1) central note, (2) whole and half step (i.e., 3 half steps), (3) whole step, (4) whole step, (5) whole and half step, and (6) whole step to the central note one octave higher than the first. Therefore, for example, the A blues scale would be played A, C, D, E, G, and A. The E blues scale would be played E, G, A, B, D and E.
A number of notation systems have been developed to indicate the pitches of notes. The most common is reflected by FIG. 2. This notation system uses upper and lower letters in conjunction with apostrophes to show which pitch is meant. As shown in FIG. 2, "middle C" is denoted "c'". "c" is the note "C" with a pitch one octave lower than middle C. "c"" is the note "C" with a pitch one octave higher than middle C.
In FIG. 2, the two basic clefs are reflected, the bass clef 50 and the treble clef 51. Also shown are the C and B notes from C" to c"". Table 1 below lists the pitches and their identifying number.
TABLE 1 ______________________________________ NUMBER PITCH ______________________________________ 52 C" 53 B" 54 C' 55 B' 56 C 57 B 58 c 59 b 60 c' 61 b' 62 c" 63 b" 64 c"' 65 b"' 66 c"" ______________________________________
As mentioned above, keyboard instruments produce sounds in different ways. Many non-electric keyboard instruments further comprise strings corresponding to the keys of the keyboard, such that when a key is pressed a corresponding string is either plucked or hit to make a desired sound. Each key in a non-electric piano, for example, has a corresponding hammer which strikes a corresponding string when the key is pressed. In a harpsichord, a slender fork-shaped jack is fixed vertically to the back of the key. The jack carries in a pivoted tongue a plectrum. Depressing the key releases a cloth damper from the string, raises the jack and forces the plectrum past the string, plucking it. Numerous issued United States patents disclose and describe various ways in which to implement a keyboard instrument. Some of these U.S. patents include the following:
1. U.S. Pat. No. 3,675,527 to Reeder, Jr. issued Jul. 11, 1972, entitled Piano Construction;
2. U.S. Pat. No. 4,130,044 to Yamada et al. issued Dec. 19, 1978, entitled Keyboard Musical Instrument and Improved Piano;
3. U.S. Pat. No. 4,156,380 to Fulton issued May 29, 1979, entitled Musical Instruments;
4. U.S. Pat. No. 4,444,083 to Apel et al. issued Apr. 24, 1984, entitled Keyboard Instrument, Especially a Piano or Similar Instrument;
5. U.S. Pat. No. 4,493,237 to DeLong et al. issued Jan. 15, 1985, entitled Electronic Piano;
6. U.S. Pat. No. 5,123,321 to Caught issued Jun. 23, 1992, entitled Piano; and
7. U.S. Pat. No. 5,552,560 to Ura issued Sep. 3, 1996 entitled Electronic Keyboard Musical Instrument With Multifunctional Keyboard. Each of these seven above-listed issued U.S. patents are incorporated herein as though set forth herein in full.
For purposes of the claims herein, the term "key" is intended to broadly mean all types of keys including conventional piano keys, buttons and other actuation devices. The term "conventional piano key" means conventional piano keys generally of the shapes shown in FIG. 1. Key 1 is a "conventional C piano key." It is rectangular with a divot on the upper, right side in order to accommodate placement of the C#/D .music-flat. key 8. Key 2 is a "conventional D piano key." It is rectangular with a first divot on the upper left side to accommodate placement of the C#/D .music-flat. key 8 and a second divot on the upper right side to accommodate placement of the D#/E .music-flat. key 9. Key 9 is a "conventional D#/E .music-flat. piano key." It is rectangular, shorter than each conventional diatonic piano key, and narrower than the lower portion of each such diatonic key.
FIG. 3 shows a guitar as an example of a stringed musical instrument having an elongated fingerboard. The guitar 100 comprises an elongated fingerboard 101 terminating at its upper end in a headpiece 102 which includes a number of pegs for 115 for string tensioning. The pegs are adjusted by their respective tuning keys 103 for each of the strings 104.
Fingerboard 101 has a series of frets 106, each comprising a transverse and raised rib on the upper surface of the fingerboard. The guitar in FIG. 3 includes 22 frets numbered 150 to 171 with fret number 150 located near the nut 109 at the upper end of the fingerboard at the point where the fingerboard 101 joins with the headpiece 102. Fret number 171 is located as the last fret at the lower end of the fingerboard where the fingerboard joins the tailpiece or soundboard 110 of the guitar 100.
The strings 104 extend from their respective pegs 115, over nut 109 (appropriately grooved to maintain string spacing), in parallel along the fingerboard over the spaced frets 106, to and over bridge 107 (located at the lower end of the tailpiece 110) and finally to their respective anchor points 111 on and within anchor member 112 on the tailpiece 110.
As previously noted, the strings 104, six in number, extend over substantially the entire length of the guitar from their respective anchor points 111 on and within the anchor member 112 to their respective pegs 115 and, as is conventional, the strings 104 extend slightly above the frets 106 formed on the upper surface of the fingerboard 101. For a six string guitar of the type illustrated in FIG. 1 the strings are typically tuned in the sequence E.sub.1, A, D, G. B and E.sub.h from low E (E.sub.1) to high E (E.sub.h). In accordance with the pitch notation scheme reflected by FIG. 2, these six notes are e, a, d', g', b', and e".
A bass guitar has four strings rather than six strings. The strings on the bass guitar are set at E, A, d and g. Otherwise, the construction of a bass guitar is the same as is shown in FIG. 3.
Note variations for each string are achieved by depressing (stopped) a string at a selected fret. The note is produced by vibrating the string between the stopping fret and the bridge. Depression of each string to a stopping fret is accomplished by finger pressure applied to the string behind the fret (far side of the fret with respect to the bridge).
Not all string instruments have fretted fingerboards. For example, members of the viol family generally do not have fretted fingerboards, but in their basic construction they resemble guitars. Instruments within the viol family include, for example, the cello and the violin. Note variations are obtained with these instruments by pressing a string down to the fingerboard and then plucking or playing the string with a bow.
Numerous issued United States patents disclose and describe various ways in which to implement a string instrument. Some of these U.S. patents include the following:
1. U.S. Pat. No. 4,031,801 to Cecchini issued Jun. 28, 1997, entitled Stringed Musical Instrument;
2. U.S. Pat. No. 4,038,897 to Murray et al. issued Aug. 2, 1997, entitled Electronic Music System and Stringed Instrument Input Device Therefor;
3. U.S. Pat. No. 4,056,034 to Kaman issued Nov. 1, 1977, entitled Guitar Construction;
4. U.S. Pat. No. 4,069,732 to Moskowitz et al. issued Jan. 24, 1978, entitled Electric Guitar;
5. U.S. Pat. No. 4,372,187 to Berg issued Feb. 8, 1983, entitled Novel Guitar-Like Electronic Musical Instrument;
6. U.S. Pat. No. 4,377,101 to Santucci issued Mar. 22, 1983, entitled Combination Guitar and Bass;
7. U.S. Pat. No. 4,483,233 to Benson issued Nov. 20, 1984, entitled Combined Guitar and Bass Guitar Having Eight Strings;
8. U.S. Pat. No. 4,539,887 to Bjerkas issued Sep. 10, 1985, entitled String Instrument of Guitar Type;
9. U.S. Pat. No. 4,602,547 to Nyack, Jr et al. issued Jul. 29, 1986, entitled Electric Guitar;
10. U.S. Pat. No. 4,658,690 to Aitken et al. issued Apr. 21, 1987, entitled Electronic Musical Instrument;
11. U.S. Pat. No. 4,704,935 to Franklin issued Nov. 10, 1987, Stringed Musical Instrument;
12. U.S. Pat. No. 4,722,260 to Pigozzi issued Feb. 2, 1988, entitled Stringed Musical Instrument Having Retracting Frets;
13. U.S. Pat. No. 4,748,887 to Marshall issued Jun. 7, 1988, entitled Electric Musical String Instruments and Frets Therefor;
14. U.S. Pat. No. 4,858,509 to Marshall issued Aug. 22, 1989, entitled Electric Musical String Instruments;
15. U.S. Pat. No. 4,887,506 to Freed issued Dec. 19, 1989, entitled Stringed Musical Instrument With Magnetic Pickups;
16. U.S. Pat. No. 5,095,795 to Wilfer issued Mar. 17, 1992, entitled String Instrument, Particularly Bass Guitar Or Electronic Guitar;
17. U.S. Pat. No. 5,113,737 to Gregory issued May 19, 1992, entitled Seven String Electric Guitar;
18. U.S. Pat. No. 5,121,668 to Segan et al. issued Jun. 16, 1992, Electronic Guitar;
19. U.S. Pat. No. 5,125,312 to Fishman et al. issued Jun. 30, 1992, entitled Stringed Musical Instrument;
20. U.S. Pat. No. 5,189,235 to Fishman et al. issued Feb. 23, 1993, entitled Stringed Musical Instrument; and
21. U.S. Pat. No. 5,497,688 to Ruiz-Carrero issued Mar. 12, 1996, entitled Musical Instrument. Each of these 21 issued patents are incorporated herein as though set forth herein in full.
One element in common with respect to all of the instruments discussed above is that each note playing means (such as keys and strings) have an associated playing surface visible to the musician playing the particular instrument. The top of a piano key, for example, is an associated playing surface with is visible to the piano player. Likewise, the fingerboard directly below a string of a guitar where the string is to be depressed in order to play a certain note is a playing surface visible to the guitar player.
One problem with the string and keyboard instruments discussed above is that they are difficult to learn, especially for children. One must learn musical notation and learn the location of each note on the particular instrument to be played. The present invention provides a means to enhance and simplify learning a new musical instrument. As is discussed more fully below, the present invention utilizes color on the note playing surfaces of musical instruments in order to fulfil this purpose.